Machine generated contents note: 1.Meaning, Interpretation, and Picturing -- 1.1.Visual representations and pictures -- 1.2.Theories of picturing -- 1.3.Intentions and transparency in pictures and photographs -- 1.4.Indiscernible counterparts -- 1.5.Fine art -- 2.Art as Expression -- 2.1.Overview of expression theories -- 2.2.Tolstoy's account of expressive art -- 2.3.Collingwood's account of expressive art -- 2.4.The expressive persona -- 2.5.Expression as arousal -- 2.6.Revising the arousal theory -- 2.7.Expression as cognitive recognition -- 3.Meaning and Creativity -- 3.1.Plato on creativity -- 3.2.Kant on genius -- 3.3.Metaphorical exemplification -- 3.4.Hegel and Marx -- 3.5.Material bases of creativity -- 3.6.Feminism and creativity -- 4.Fakes, Originals, and Ontology -- 4.1.Multiple and singular -- 4.2.Abstract objects -- 4.3.Problems and implications -- 4.4.Fakes and originals -- 4.5.Objections and alternatives -- 5.Authenticity and Cultural Origins --

Contents note continued: 5.1.Two kinds of contextualism -- 5.2.Four kinds of appropriation -- 5.3.Moral concerns -- 5.4.Culture -- 5.5.Cultural authenticity -- 5.6.Modernity and authenticity -- 6.Defining Art -- 6.1.Philosophical definition -- 6.2.Historical background -- 6.3.Functional definitions -- 6.4.Institutional definitions -- 6.5.Historical definitions -- 6.6.The cluster account -- 7.Aesthetics -- 7.1.Aesthetic judgments and properties -- 7.2.Supervenience -- 7.3.Two complications -- 7.4.Aesthetics and nature -- 7.5.Formalism and detachment -- 7.6.Making special -- 7.7.Pleasure and appreciation -- 8.Beyond the Fine Arts -- 8.1.Popular and mass art -- 8.2.Standard criticisms of popular art -- 8.3.Social consequences of popular culture -- 8.4.Gender and race -- 8.5.Everyday aesthetics -- 9.Artistic and Aesthetic Value -- 9.1.Three kinds of value -- 9.2.The uniqueness thesis -- 9.3.Value empiricism -- 9.4.Instrumental value -- 9.5.An alternative analysis --

Contents note continued: 9.6.Appreciation -- 9.7.Cognitive value -- 10.Conclusion.